'What if the Knights of the Round Table had a female counterpart?' Bro I wish I knew, because whatever this book is about, that sure ain't it.
I feel bad about not liking this book. I really wanted to; a feminist Arthurian reimagining is basically my catnip, and it's clear this book is the author's passion project. It's also equally clear, unfortunately, that being a bestselling author of feminist nonfiction does not mean you're going to have the chops to write a fantasy YA title that doesn't come across as a directionless, derivative mess. I knew we were in trouble when I reached the 35% mark and it hit me: what is this book about? We've had a sequence of events, but no plot. Hints of some sort of 'chosen one' destiny, but no hints of a character arc. And the closest we've come to a cogent theme is 'women deserve to be as badass as men', which was a relevant theme in YA....when Tamora Pierce wrote the Alanna books forty years ago.
It actually feels like the author really isn't familiar with what modern YA fantasy looks like, and has written a book that reflects what *she* feels the relevant themes and narrative structures are without looking any further. But it means that nothing fits what the genre landscape is now: the prose, while lovely, is very distant. There's no sense of a coherent plot, stakes, or rising tension. There's a lot of top-down 'summarising' narration, even at the emotional climax. The characters with the most agency are the adults, not the teens. And most egregiously, the heroine is the least interesting character out of the whole cast.
I actually think this is where a lot of the fundamental problems with the book lie: with Cass, the (supposed) protagonist. What does she even want? Well, not to have to get arranged-married, but that problem is solved on approximately page one when she's swept off to the Secret Women with Swords Society. Theoretically the tension comes from leaving her family--and beloved sister--behind without a word on her sister's wedding day, but it never feels like it's actually an issue. It's made obvious very VERY quickly that this new life is 'where she belongs'; she never feels much angst over it; and we never saw her actually in her normal life, with her sister (except in the years-ago prologue) so there's no sense of loss for the reader. And (spoilers from this point onwards:) when we DO see her sister onscreen at about the 75% mark, even the single bit of character tension that could have brought up is squandered. She's happy for Cass, agrees it's the best life for her, and agrees to keep her secrets. INSTANTLY.
This might be less of a problem if Cass had other drivers to her character arc, but she doesn't. She feels some minor angst over some of the things she has to be okay or not with, but there's no character arc or even a personality there to speak of. Despite having spent 400 pages with her I couldn't tell you the first thing about what she wants or needs, other than I guess to swing a sword around and have hashtag freedom?? But she GOT THOSE, immediately, and there's no plot for her to propel forwards, so really, I have to ask: why is she even the protagonist? Every one of the supporting cast was more interesting, and had far more interesting and complex motivations. Even at her 'big fall' moment, it wasn't a flaw of hers that caused the fuck-up, it was the *mysterious power* within her that literally forced her hand. Why is this *her* story? More importantly, what even is the story??? A sequence of training montages and tournaments and the neighbour turning up every so often being all Evil isn't a plot! I still, STILL couldn't tell you what the narrative throughline of the book is. Things just Happen, until the villain (you can tell he's going to be the villain because he cheats at jousting) does something so bad that the Women with Swords Society decide they need to go kill him and his household, which they do. And then the book ends with a last page reveal that manages to both come out of nowhere and be extremely predictable at the same time.
I also can't in good conscience go past commenting on the thematic material. I have no idea what Laura Bates' nonfiction work is like, but I have to believe it's more complex and nuanced than the extremely flat, heavyhanded kind of 'feminism' we got in this book. Wow, women are OPPRESSED by their ROLES in SOCIETY?? Wow, MEN are BAD?? Omg, Arthur's knights are actually BULLIES and RAPISTS???? It was honestly comical that I could immediately ID the love interest because he was the only on-screen man not to instantly act like a Saturday morning cartoon villain. Like come ON, we have moved SO FAR PAST this style of 'feminist' narrative in YA--teenagers aren't idiots; they can handle nuance and a deeper exploration of just how and why patriarchal structures fuck women up and the ways in which women can fight back. Also, the empowerment the women found in this book wasn't even: the marketing describes the society as 'a group of female knights training to fight, protect their community and right the wrongs of men' but actually the most heroic thing they do (until the final massacre, which we know is heroic because--and I wish I was making this up--the Evil Lord doesn't have a wife so most of is household is male and therefore also evil) is bullying some dudes into returning some peasants' pigs. The primary concern of Sword Society is always, always not being found out; they don't do adventuring or heroics, they huddle in their castle hoping nobody knocks on the door and asks why the man of the house is never home. For christ's sake, we even had the tired old trope of the protagonist being rescued from an attempted SA situation BY THE MALE LOVE INTEREST. Later there's a talking-to-camera moment about how that doesn't count as chivalrous and she'd have surely been able to save herself, but for a book that's supposedly all about female empowerment there's very very little of it actually on screen. Even when Cass is unmasked, it comes down once again to A MAN to preserve her secret!! (Who does, btw, because he's the love interest aka the Not All Men.) There are so so many current YA titles exploring themes of gender and power in ways that are so much richer and more complex and I am begging Laura Bates to read them before assuming she can write one too just because of a (distinguished!!) background in feminist activism.
And speaking of gender: I also cannot in the year of our lord twenty twenty three take seriously a 'girl in boy's clothing' narrative played straight, without any sort of exploration or even mention of genderqueerness or that particular cluster of gender politics. For such a man-hating book it was actually disappointingly heterosexual; we had one sapphic romance but the very obvious, very high-chemisty, very narratively rich potential for a romance between Cass and her best friend was squandered in favour of--sigh--mister Not All Men.
In summary, I came into this book expecting a great time and finished it extremely disappointed, bored, and wondering how the manuscript made it through developmental edits looking like it does. Thank you to Simon & Schuster, NetGalley and the author for the eARC in exchange for my honest review; I really wish my honest opinion could have been a better one.